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Rezension zum IF-Comp 2007 (German)
Im Jahre 1863 verdingst du dich als Stallbursche im Londoner Haushalt des Lord Bellwater. Nach dem Tod des betagten Hausherrn, bezieht sein Sohn die Residenz. Als kurz darauf deine Liebste, die Hausangestellte Elsie, auf tragische Weise ums Leben kommt, glaubst du nicht an einen Unfall, und beschließt eines Nachts, eigene Nachforschungen anzustellen. ...
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Number of Reviews: 7
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I'm not usually all that good at puzzles, but I found most of these easy yet satisfying, right up to the very end where I found myself utterly baffled — not by what I should try next, which it turns out I had right, but by how on earth I could persuade the parser to let me try it. Given the number of other reviews that have mentioned this problem, I have no doubt the author will fix this up in the next release, so I've not taken any stars off for it. I would, however, advise waiting for the next version if you don't want your immersion in the story to be interrupted by a bout of frustration right at the most exciting part.
The rest of the game was very polished. I couldn't find a single unimplemented noun; some descriptions were shared between nouns, for example the bookshelves and the books, but this is perfectly sensible and absolutely fine. (I know some people don't care about this kind of thing, but I feel a little bit more writing effort put into the parts of the scenery that people are likely to look at really makes a difference to whether a game feels solid or fragile, and I don't trust fragile games to have fair puzzles/solutions.)
Similarly, I liked the fact that it was possible to discover details of events prior to the start of the game that, while irrelevant if your goal is only to get to the ending, added colour and interest to the whole story.
My main disappointment was that what I would have seen as the optimal ending seems not to be implemented.
First, there's the game's opening: I know who I am, when and where I am, what I'm doing, and a strong suspicion of why it won't be easy. Though no one will cite it as one of the great openings of all time, I'm at least into the game and into my role before turn one. Since I-F has no box art, illustrations, or even a genre section from which to pick a work, I find such introductions an absolute must. Consequently, here I didn't feel those first few turns of aimlessness that much of I-F give me.
Navigation was a breeze, and is probably the single most important reason for the sense of immersion, that sense of the interface melting into the background. Even after completing the game, I'm still a little fuzzy on how the room in this one-room game was laid out, and that's the highest compliment I can give a work regarding its navigation. In Bellwater's room, we don't move from place to place so much as point-of-interest to point-of-interest, which tends to be some sort of prop or furniture. No need to clutter our minds with directions or bland names of areas like "alcove" or "hearth" when puzzles demand all our brainpower. Our imagination will fill in any blanks.
Characters were represented by the usual technique of in-absentia, with a notable end-game exception (though still non-interactive). Caring about the plight of characters is my motivation for playing I-F; countless video games of optimization puzzles and exhaustive searches have thoroughly trod that ground, with the iron-clad boots of pedantry no less. And it's a rare work when you can sympathize with your own PC; down that road lies angst and powerlessness, rather than the can-do, will-try activism of the typical PC. The only mark against this work regarding characterization was I couldn't remember my own PC's name without others present to remind me. Consequently a few things I read confused me.
The game's weakest link was, by far, the parser. The parser... It always comes down to the parser. LOOK AT/IN wasn't synonymous with EXAMINE, which is an important point in such a game where LOOK (around the room) is used so often. (I started using LOOK and its variations everywhere due to sheer habit of typing it.) TURN part-of-thing wasn't synonymous with OPEN thing, and a similar problem of parts vs. the whole emerged in the endgame. Both of these issues caused me to retreat to the hints even though I had actually solved the puzzle, but unknowingly, due to phrasing it for the parser.
One thing that authors should not imitate from this game: if Dear Player has reached your endgame, your last puzzle, your final showdown, it's a safe bet that he's fairly drawn into your world, and will be quite susceptible to danger. This makes a fairly safe bet that, once you've sprung that danger upon him, he won't exactly be thinking clearly. As a matter of fact, it's almost certain he'll be emotional, spastic, and utterly unaware of the fact that he has all the time in the world if he just stops typing. So please, Dear Author, in the end, ease up on the difficulty.
Despite the seeming simplicity, I was definitely stumped on a couple of verb / parser issues that sent me to the built-in hints. The hints are well-done and thorough, but it made me feel like this was more of a "dig for clues" kind of puzzle than something that could be logically deduced like "An Act of Murder". Some of the puzzles have a laborious feel to them. But the story is good and the writing always pays back your efforts as the story proceeds.
There's quite a good drama that unfolds and the ending was quite exciting. It got my heart racing! I hope the author will continue with more mystery fiction.
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